Q. What inspired you to set your fictional family relationship novel in British India, and how did you research the historical and cultural aspects of that time?
A. I am foremost a student of literature. I am also a student of history. There are some phases of history such as the Second World War, the aftermath of the Second World War, the rising Indian National Movement, the Independence of India and the emergence of Modern India. These phases are particularly fascinating to me, and I have been exploring them since I was a teenager, thereby gaining deeper perspectives on that time period. The Song of Distant Bulbuls has been set in the year 1946, which was a significant year in World History as well as in Indian history. The Second World War had drawn to a close and the Indian National Movement is at its peak. The novel unfurls against the backdrop of this singularly turbulent time in history. The novel has been inspired by true events, and I will mention here without giving away the story that the basic premise of the novel has been inspired by a deeply personal story, which is very close to my heart and by unveiling this narrative, I have attempted to present that story to the world.
Q. Can you share some insights into the dynamics of the family relationships portrayed in the book and how they are influenced by the socio-political context of British India?
A. The novel opens in January 1946, and readers are introduced to 23-year-old Sammi. She was married to Hari Singh, an officer in the British India Army, in the autumn of 1939. Barely 21 days after her marriage, Hari Singh was summoned to fight in the Southeast Asian theatre of the Second World War. Now it has been months since the Second World War has ended, but there is no word of Hari Singh, who has not been gone from nearly seven years. Sammi has been awaiting Hari Singh’s return in her parental village, Aliwala, a syncretic hamlet with Sufi bearings in the hinterland of Punjab.
Q. Comment on how patriarchy comes into play in the novel?
A. I will begin by saying that patriarchy is an age-old institution with deep roots. It has been prevalent across the globe. It has been prevalent in India; it has been prevalent in Punjab. It was more strongly prevalent in 1946 than it is today. The novel unfurls in the hinterland of Punjab, where it was deeply prevalent. Patriarchy offers limited agency to the women characters in the story, but the women in the novel defy patriarchy to assume agency at significant moments in the novel.
Q. In what ways does Sufism contribute to the atmosphere and mood of the book, and how did you use it to enhance the storytelling?
A. Sufism is a significant theme in the story. The village where much of the story unfurls is Aliwala, which sits along the banks of the river Ghaggar in the Malwa region of Punjab. The patron saint of the village is Ali Hujwiri. There is a shrine in the village to honour the patron saint and at the time of the annual autumnal anniversary of the Sufi saint, there is singing and rejoicing in the village; these celebrations that take place on the shrine of Ali Hujwiri in Aliwala are similar to the festivities that take place at the shrine of Ali Hujwiri in Lahore. Ali Hujwiri is popularly referred to as Data GanjBaksh and later in the novel, when the narrative flashes forward to the year 1947, readers are offered a glimpse of the great shrine of Ali Hujwiri in Lahore as well.
The characters in the novel exhibit Sufi tendencies at pivotal moments in the story. Sammi manifests the two outstanding Sufi tendencies of Ishk, which is intense love, and Bagawat, which is the spirit of rebellion. Jasjit exhibits self-effacing service for the nation, the community and family. Babuji, too, manifests Sufi tendencies when he practices kindness and benevolence. Kirpal exhibits Sufi tendencies of love and tolerance when he is touched by romantic love. In her acceptance of circumstances, JeetiBhua, comes to personify Sufi tendencies of perseverance and when readers will encounter Bachan Singh for who he truly is, he, too, presents to us this wonderful aspect of SufianaIshk that he professes to practice. In closing, I would like to say that not only does the village uphold the patron Sufi saint of the village, but all the significant characters in the novel, step forward to exhibit Sufi tendencies at vital moments in the story, sometimes to the surprise of the readers, enhancing the plot structure and driving the story in myriad unexpected directions.
Q. Comment on the significance of the river Ghaggar in the novel?
A. The river Ghaggar is integral to the novel. Though hardly as well knows as the famous five rivers of Punjab, it is vital to the land through which it flows. Emerging in the Shivalik hills, it flows down to make its way into the forgotten hinterland of Punjab, transforming arid areas like Aliwala into lush fields. Even when the river floods during the monsoons, it leaves the fields of Aliwala enriched with alluvial deposits that it brings from the hills, facilitating richer harvests for seasons to come.
Q. Comment on the title of the novel?
A.Bulbuls are songbirds in Punjab. They are symbols of beauty and their song is a testament to the resilience and courage, the aesthetic and loveliness of Punjab, its culture, fields, festivals, crafts and traditions. Sammi and Hari Singh bond over the song of the bulbuls.
Q. Lastly, what message or takeaway do you hope readers will gain regarding family relationships and their evolution from your exploration of British India in your narrative?
A. Sammi’s unfailing spirit of self-reliance serves as an example of believing in oneself to overcome ordeals rather than accepting catastrophes as the hands of fate. By never giving in to the challenges posed by family, society, religion and political upheaval, Sammi emerges as a rebel heroine of the early twentieth
century.
